Anima Ardens is a new soundtrack creation by Francisco López. Eleven men, eleven dancers in constant nudity, throw themselves, body and soul into Anima Ardens or "Burning Breath", highlighting the diversity of their bodies and origins. Trance rituals or being in shamanic trance, takes anyone to the source of their emotions. All surrounded by the organic sound environments of Francisco López. Comes in a digipack sleeve.

2014 release. Francisco López is not only famous for his prolific sound creations, but also for different aspects of sound manipulations. Since his very beginnings, he explores different fields of sound and almost entire his work belongs to the series untitled. untitled#295 is a piece created specifically for two sides of vinyl. Besides Lopez's famous moving soundscapes, it's the pulse that makes this work driving. It's not a regular pulse, it's one with irregular accents. Slowly developing, it takes the listener insensibly into void and darkness being an extremely tempting work for claustrophobic experiences.

Full-length original audio piece on 24-bit/48kHz digital USB flat memory-card with non-audio blank etched vinyl. Edition of 500 copies numbered and signed by Francisco López. La Selva is an immersion into the sound environments of a tropical rain forest in the Caribbean lowlands of Costa Rica. An astonishing natural sonic web created by a multitude of sounds from rain, waterfalls, insects, frogs, birds, mammals, and even plants, through a day cycle during the rainy season. A powerful acousmatic broadband sound environment of thrilling complexity. And above all, a tour de force of profound listening. Original recordings done at La Selva Biological Station during the rainy seasons of 1995 and 1996. La Selva was premiered in an acousmatic performance at Teatro Fanal of the Fanal Contemporary Art Center in San José, Costa Rica, in August 1997. Originally released as a CD by V2_Archief in 1998. "After two years of failed attempts with multiple test pressings from the best plants and cutting engineers in Europe, the inherent constraints of vinyl led to an unavoidable conclusion: this audio piece cannot be released on vinyl... many of the naturally intense sections of 'La Selva' with insect and amphibian calls were rendered awfully distorted, with filtering solving virtually nothing at the expense of dramatic dullness... That is why this 'natural' sound piece has been finally reissued digitally, in its entirety, and with the best possible sound." --López

Pressing of 300 copies on crystal-clear 200-gram virgin vinyl packaged in a custom letterpress jacket printed, die-cut, and hand-assembled at Studio On Fire in Minneapolis, with particular care taken to retain the fine detail of the cover's microscopic type. "Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For more than 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion" --Pedro Higueras, Sonom Studios. "UNTITLED#300 is an LP based on multi-track field recordings I did in 2011 of a large colony of seagulls in a group of small islands right in front of the Moroccan-Algerian border, together with hydrophone and contact mic recordings of sea creatures underwater from the same location (side A and B of the LP, respectively). Being interested in going beyond a traditional 'soundscape' perspective, I've played freely with mixing and editing, in an unorthodox way, different multi-channel recordings I did. Side A ('abovewater') is the large seagull colony. In side B ('underwater') what you hear is predominantly millions of very small shrimp-like crustaceans, dolphin sonar (the beating pattern of the first section), and occasional fish (the 'frog-like' calls)" --Francisco López. Original environmental sound matter recorded in the Chafarinas Islands off the coast of Morocco, summer 2011. Edited, mixed, and mastered at mobile messor, The Hague, the Netherlands, summer 2012. Field work carried out with the collaboration and support of the SIGEIN-Chafarinas research group (Integral Ecological Management System of the Chafarinas Islands), directed by Francisco J. Acosta (Universidad Complutense de Madrid, Spain) and coordinated by Javier Zapata (Spanish National Park Service).

Untitled #274 was composed by Francisco López and performed by Kasper T. Toeplitz at GRM Studios in Paris, France. Francisco López is internationally recognized as one of the major figures of sound art and experimental music. For more than thirty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound, and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. Kasper T. Toeplitz has worked with academic research organizations, such as GMEM, GRM, IRCAM, and Radio-France, as well as with experimental musicians, such as Éliane Radigue, Zbigniew Karkowski, Dror Feiler, Tetsuo Furudate, Phill Niblock, and Art Zoyd. Citing Giacinto Scelsi and Iannis Xenakis as influences, his early work was mostly written for traditional instruments.

Part 3 in Sub Rosa's new series Framework is an extension of their Concrete Electronics Noise series, a brand new mix-up of unusual conceptions of sound material by young unknown composers, well-known not-so-young composers and old but clever composers. Limited to 700 copies.
Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. Over the past 30 years, he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in 60 countries of the five continents. His extensive catalog of sound pieces (with live and studio collaborations with over 100 international artists) has been released by more than 200 record labels worldwide, and he has been awarded three times with honorary mentions at the Ars Electronica Festival. Untitled #244 was created with the evolution of original environmental recordings done at multiple underwater and abovewater locations in the Paraná and Paraguay rivers (Argentina and Paraguay).

2008 release. "Conops is a work created from recordings of environments which are dominated by networks of insect sound. It is a composition of sound immersion that is not designed to represent reality, but rather transform it into a new sound universe, absolute and hyper. Original environmental sound matter recorded at multiple locations in Brazil, Canada, Costa Rica, Greece, Japan, Senegal, and the USA between 1990 and 2005. Edited and mastered at Mobile Messor, spring 2007. Compact disc in an all white digipak. Limited edition of 1000."

"Continuing his 'exploration of the universe of broad-band noise from the real world,' Francisco López delivers his latest tour de force, the original soundtrack to the film TechnoCalyps by Frank Theys. TechnoCalyps is a documentary in three parts on 'Transhumanism,' which deals with the subject of human beings no longer being the driving force of civilization. Director Frank Theys raises the question of whether we are prepared to accept the prospect that humanity is not the end of evolution. Francisco López' soundtrack compliments the film wonderfully. Anybody familiar with the sound art of the composer will understand why this is a sensible pairing. Francisco's ability to utilize everyday sounds that most people barely even notice, and transform them into sound art is quite astonishing. The original soundtrack opens with an intro that is based on repetitious industrial sounds that bring to mind heavy machinery heard from a distance. It is much more difficult to discern Lopez's source material on this release than on many of his previous works. While the recording features his trademark ebb and flow of quiet passages leading through crescendo to louder climaxes, the industrial nature of TechnoCalyps, makes it more difficult to absorb than many of his recordings centered on environmental recordings. The sound experience found on this latest recording can be compared somewhat to Lopez's highly-regarded Buildings (New York) which features recordings of the actual sounds of the buildings themselves. This is our sixth release with Francisco López and is packaged in a full color digipak featuring stills of the film TechnoCalyps."

May, 2006 release. "Untitled #180 is perhaps López's most playful and humorous release. While it features his trademark swells, bursts of pure sound and extended periods of silence, a unique element captured on this release is the predominant electroacoustic feel to the sound. This has a lot to do with the sound sources, short samples borrowed from blockbuster motion pictures. As a result many of the clichés of both the world of academic electroacoustic music and film sound effects are beautifully exploited on this recording. Listening to Untitled #180 with adequate volume is quite a mind-bending experience. With its juxtaposition of silence and extremely dense sound one is left with an impression similar to the works of composers such as Carl Stalling and Raymond Scott's works for cartoons or perhaps the music of Pierre Henry, but with the undeniably powerful touch of López. Untitled #180 is perhaps a reaction to how brutal the sound effects utilized in the film industry have become, with THX and surround sound and associated technologies the sound of car crashes, creatures, explosions or just sounds of every day life have become incredibly loud in the cinema setting. It is very easy to get a feel for this listening to segments of Untitled #180. There are moments on this recording that are absolutely over the top and the different sounds inspire so much mental imagery that is mind-boggling trying to follow the piece. In this respect, the near-silent passages are well earned."

"An immersion into the sonic matter from micro- and macro-environments dominated by wind in Patagonia. A vast barren space shaped and inhabited by the ever-changing forces of unmuted plants, rocks, sand, snow, and ice. An irregular broad-band environment of relentless strength and richness. And above all, a tour de force of profound listening."

"Elevator Bath is immensely proud to present this exquisite new work from one of the major figures of contemporary experimental music. Lopez Island was crafted from original environmental sound matter recorded in Lopez Island during the Winter of 1999-2000. The resulting composition is 51 minutes of both delicate minutiae as well as startling power -- crackling, howling, and haunting. The small island in Washington state provided the beautiful, isolated terrain for López's gathering of raw sounds and, as a personal audio document (though clearly beyond mere documentary), the landscape has been expertly translated. A quintessentially chilling interpretation of the winter beach, Lopez Island is a worthy addition to López's exemplary body of absolute concrète music and, indeed, one of his finest works to date. Packaged inside two elegant printed sleeves of 100% recycled paper, this compact disc has been issued in an edition of 500 copies."

"This release documents an especially memorable performance from 2002. Live in Montreal commences very quietly as a barely audible hiss, which proceeds to build in intensity until the sixteen minute mark, then falls back into silence for a few seconds before advancing into the next movement of the piece. At this point the performance takes on a scarier and more sinister shape. Sounds seem to move in all directions. It is absolutely mind blowing what Francisco Lopez is able to achieve using equalization and a quadraphonic speaker set up. There are percussive elements to this piece that are fresh and unusual that last for about five minutes from the 20- to 25-minute mark. They eventually fade out giving way to an increasingly powerful drone that is classic Lopez. The sounds during this portion of the recording are incredibly rich and dense. At times you think you can detect elements of a string quartet in the distance or tape stretching of a vocal choir. At the 32-minute mark the recording starts to fade out the same way it began and while it is a long piece, it certainly has the feel of a complete work."

"World renowned composer Francisco López has by now an extensive discography and is seen regularly performing his music live around the globe. Yet only a very small portion of his extensive discography reflects his activities on stage. Therefore we are proud to release this excellent recording of a Francisco López concert from 1999, taped in 's-Hertogenbosch, The Netherlands. In a dark room, López sat behind the mixing board and mixed his various sound sources blindfolded, whilst his audience was also blindfolded. Unlike his many 'silent' (or more accurately) studio CD's, López here builds the sound from extreme silence to extreme loudness. This CD comes with a black blindfold which is recommended for use during playback of the CD at home."

"Untitled (1999) is released late 2001 to coincide with Lopez' first Australian tour. Comprising 7 untitled works ranging from one minute to eighteen minutes in length and recorded over the past three years, the release presents a wide ranging selection of Lopez' styles, typically representative of his dynamic live performances. Distant, subtle oceans of processed sound environments and selective use of silence contrast with powerful waves of full-frequency drones. Sound for deep listening at high volumes. Minimally packaged in a clear slimline jewel case, Untitled (1999) is released in a limited edition of 500 copies."

Repressed. "Generally speaking Francisco Lopez falls into the school of sound being referred to as silent or quiet music. In fact up until this point Lopez could go head to head with the likes of Bernhard Günter for the crown of silence. Both artists participate in a genre that requires plenty of attention, ear phones and absolute silence in order to make sense of the nearly inaudible soundscapes. To the untrained ear many of their recordings wouldn't even register. We can assure you that this is not the case with Untitled # 104. This release has more resemblance to our releases by Masonna and Merzbow, not in terms of sound, but power."